Huh? Why? Good question: it's because of Rodriguez's approach to economical filmmaking, which would come to whoopsiedoodle dominate everything uh oh! We get into it, as well as one or two other topics. Banderas is actually Spanish, not Mexican (I looked) but I don't think this invalidates my broader point.

Corbin Reccomends the Mars Trilogy. Matt reccomends 'Hail Satan?" a documentary about jerks.

Next week's episode is about a few movies trying new things in digital around the early/mid-aughts, including: Me and You and Everyone we Know, Once, and Timecode.

28 Days Later is a "Zombie" movie made with a TV Camera that you watch on a big screen. It's really great! We talk about the practical and impractical applications of digital technology, materiality and zombie movies, the movie's depiction of fascism and soildering, then and now, and also what a spectacular bummer this thing is.

Read a great essay about filmic materiality and the zombie movie here. Research also pulled up this extemely weird but kind of nifty essay about how 28 Days Later is kind of about the new apocolyptic bent that food writing took in the early aughts. A very good interview with cinematographer Anthony Dod Mantle can be read here.

Matt reccomends 'Cinema's First Nasty Women,' an anthology fron Kino Lorber, available now. Corbin reccomends Dinner in America. He also likes that new Pixar show on Disney+ but your milage might vary.

Next Week's episode is about either Spy Kids 2 or 3, we havent quite decided yet. If anyone had a strong opinion about which is the superior one, tell us I guess.

Bro we're so back. We've never been more back. Because two white guys got in a room and talked about STAR WARS EPISODE TWO: ATTACK OF THE CLONES, which is, in addition to being one of the most reviled movies (By total weight, not percentage of hatred per person) of all time, the first major motion picture ever shot on digital cameras. We sorta think it's neat?

Topics include anything but the plot, which, you know, it not important. The cameras they made, the difficult dransition to HDR Sensors, Lucas's monumental individual role in pushing movie technology forward, the way that his decision to use digital on this movie took him a step behind his contemparies and how, in its way, it proposes an alternate path of digital cinema that was not taken.

Read 'Digital Cinema, a False Revolution," a half precient, half non precient about where digial production would take us right here at JSTOR. Check out a fascinating contempary interview Lucas did with American Cinematographer right here at a 2002 lookin' webpage. Nifty sort-of doc about the making of the movie here.

Matt reccomends Hundred of Beavers, which you can watch here. Corbin reccomends Paddington in Peru, currently in theaters in glorious 4k, and an episode of Star Trek: Deep Space Nine.

We forgot to tell you what next week's episode is about: it's 28 Days Later, a movie shot on an honest to god Sony DCR-VX1000. Not really streaming on a service, but you can rent movies, right?